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Amazonia-Dossier-De-Presse-Anglais Biloba Films and Gullane present A film BY Thierry Ragobert SHOT ENTIRELY IN 3D Runtime: 85 minutes - France / Brazil - 2013 - 1.85 - 5.1 INTERNATIONAL SALES INTERNATIONAL PRESS AMAZONIA takes us into the heart of the biggest forest on Earth to discover the Green Planet. Magali Montet A fiction film about the natural world for the whole family. 5, rue Darcet – 75017 Paris [email protected] An ode to the beauty and diversity of the Amazon rainforest, Tél.: +33 (0)1 44 69 59 59 Tél.: +33 6 71 63 36 16 this exceptional landscape that is both untamed and mysterious. Fax: +33 (0)1 49 69 59 42 Delphine Mayele www.le-pacte.com Tél.: +33 6 60 89 85 41 [email protected] Press kit and photos available for download from www.amazonia-lefilm.comand www.le-pacte.com SYNOPSIS AMAZONIA, a 3D odyssey into the world’s biggest rainforest: the Amazon Forest. After a plane crash, Saï, a capuchin monkey born and raised in captivity, finds himself alone and lost in the wilderness of the Amazon jungle. Unprepared, the little monkey feels helpless with this sudden freedom. Facing a new world in which dense and luxuriant vegetation covers everything, Saï has to find his way and protect himself from the traps Nature has laid out. He finds himself face to face with all types of forest animals: jaguars, crocodiles, boas, tapirs, giant otters… Saï soon understands that finding fellow capuchin monkeys and being adopted by them may be his only hope for survival. PRODUCTION NOTES STÉPHANE MILLIÈRE « The AMAZONIA project came to life in 2006 on the release of the film THE WHITE PLANET, the grand saga of life in the Arctic in the course of a year. It was after a conversation with Jean Labadie, the coproducer and distributor of that film, that we decided to follow up with a similar project, this time telling the story of another biotope that is essential for our planet: Amazonia, the Green Planet. Like the Arctic, it covers an immense area, an ostensibly hostile place, and yet key for the balance of life on our planet. Like the Arctic, the Amazon basin follows a great annual cycle. Here, it’s not about cold and ice, but the rise and fall of the waters. Amazonia breathes, and all the fauna and flora that live there function in time with this breathing. We didn’t want to tell this story as an observational documentary in which we show the most beautiful sequences of animal behavior, as we did for THE WHITE PLANET. To describe the workings of this incredible ecosystem, which is home to more than 10% of the planet’s species, it seemed clear we had to find a way to make the spectator experience it almost physically, immersing him or her in the forest, with its sounds and smells, the humidity, that feeling of being crushed that one gets the first time one comes in contact with it, the fear of all that fauna that you can sense rather than see, but which is always present around you. It was essential to convey this story through the device of a character who would have the same experience we would have ourselves. We needed a naïve animal, which would undergo this apprenticeship in the forest. I first imagined this story could be led by a young marsupial which finds itself separated from its mother by the floodwaters, and which would be confronted by the perils of the forest. It was my partner Luc Marescot who came up with the idea of the capuchin monkey, because he’d had the opportunity to see how quickly this species of monkey can learn from its environment. The idea of the capuchin monkey was immediately adopted, and since it had to be unfamiliar with the forest, Luc thought of a monkey living in captivity which, due to a plane crash, found itself lost in the forest where it is forced to learn to live. Sloth I thought the film should recount how this lost link with nature could be re-established, and how nature, at first dark After more than four months of filming, the director started on the editing and a list of missing shots was drawn up. and hostile when one doesn’t know its codes, becomes beautiful and welcoming once you know how to read it. The two crews headed off again. There were two crews on the ground: one working with our little monkeys, kept safe and sound in a special area in the base camp in the forest; the other to continue its exploration in search of complicated In the forest, to those of his species, our capuchin monkey is a stranger. But by watching from a distance, he’ll learn shots of animal behavior or rare species. to understand the codes, and will end up knowing how to get by in this complex world. This second period of filming lasted two months, and was then followed by many weeks of editing in Paris to continue We chose to film in the Amazon exclusively with the animals from the chosen area (around 120km north constructing the film. It turned out that we were still missing some important shots, and the two crews had to head back of Manaus), without special effects, without CGI images, with no sequences filmed in a studio. The film had to be true to the forest yet again to film some more. and authentic. To achieve this, we filmed with animals taken in by IBAMA, Brazil’s environmental protection agency, which seizes young animals kept as pets in houses or cabins by inhabitants of the Amazon. They entrusted us Editing took almost another year after this last expedition. It was a very important stage because in this film with no for two years with these young animals, which lived in a sanctuary, but didn’t really know the forest they once came from dialog or narration, all the emotion and narrative progression had to be conveyed by the image. It was all built up, day – exactly like the protagonist of our film. by day, by choosing images from the hundreds of hours of footage, to assemble, shot after shot, exchanged glances, encounters, combats, and in the end, a story that would keep the viewer in suspense for 85 minutes. So that the experience of immersion in the forest could be as powerful as possible, the film had to be able to stand alone without any narration. It also had to be filmed in 3D, which had never been done before in the Amazon AMAZONIA fluctuates between fiction and documentary, with animals which are not trained to be actors, filmed in rainforest, and with animals that were new to the place and others that were wild. the heart of the actual rainforest and put together without the artifice of narration. The 3D adds the feeling of immersion in this primary forest. Thanks to the relief, we are right in the vegetation, alongside the little capuchin monkey, sharing Lastly, making this project required a director of talent, an expert in wildlife filming, and one who fully understands his fears, his surprises, his moments of happiness and tenderness. the driving forces of fiction. Naturally, we decided to work again with Thierry Ragobert, a companion for 15 years on my major documentary projects and the director of the feature film THE WHITE PLANET. AMAZONIA is a journey of sensorial discovery, an intense film, sometimes funny, sometimes moving, which will change how we see the Amazonian forest forever. » Filming stretched over two-and-a-half years, after almost six months during which the young animals had to get used to the presence of humans and cameras on their territory. All that was built up day after day, with infinite patience in the work with the young monkeys and other animals. We had to continually reinvent the scenes that had been written to adapt to the animals’ behavior. And then there was the rain, the equipment breakdowns, the days when the animals wouldn’t cooperate, and so on. FABIANO GULLANE AND CAIO GULLANE What first drew you to this project ? Caio Gullane and I have always wanted to participate in a major project about the Amazon rainforest. Ever since we were young, we’ve often traveled there so we know the region well. We have already climbed the best-known peaks and explored the principal rivers. So when Stéphane Millière invited us to join the AMAZONIA project, we immediately saw it as the one we had always dreamed of making. Because not only would the whole film be shot in the Amazon, but also it was based on the principle that the main characters would be the animals of the forest and the forest itself. We were all the more excited by this project since it would be shot in 3D, using the very latest technology. As for Thierry Ragobert, we loved THE WHITE PLANET. He’s a fascinating man who comes from a documentary background, and who turned out to be very personable, warm and authentic, and who expresses his feelings with great sensitivity. Working with him was very positive and uplifting. How did you develop the script, between France and Brazil ? I think the main challenge for this project was to make a great fiction film using elements of real life, like nature, animals, the climate, the rain, the floods and drought. As such, the script was crucial. The French screenwriters started out by doing extensive scientific research into the animal species, the great diversity of Amazonian fauna and flora.
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